Théâtre Français: Le Caïd

“The second presentation of le Caïd was given last evening at the French theatre. The good effect of a reduction of the price of seats was made visible by the very large attendance gathered to welcome the artistes on their return from Philadelphia, where they achieved, on Monday, most flattering success. To the important features of the work we have already alluded. It is certainly one of the most dashing and popular opera bouffes yet put upon the stage. The scenes are brimful of drollery, and some of the characters such enjoyable caricatures that we forget the flimsiness of the intrigue in our laughter at the incidents whereof they are the heroes. The music of le Caïd is that of a practiced musician rather than of an inspired composer. We admire in its numerous morceaux the science of the scholar, but are rarely roused to enthusiasm by the ear catching motifs of the compositions. Yet all the numbers of the opera are worked up with that animation which characterizes the productions of the author of ‘Midsummer Night’s Dream,’ and in each of them an occasional burst of pure melody suggests that the disciple of Auber is not wholly devoid of creative power. Portions of the overture, whose principal theme recurs throughout the work, of the soprano’s air and of the duo and drinking song of the first act, as also parts of the duo and finale of the second, warrants this presumption, while the sparkling instrumentation of the accompaniments give evidence of the thoroughness of the composer’s ability. This much said of the opera we pass to the singers. Mlle. Bonconsiglio, of whose first appearance we have on a previous occasion spoken briefly, personated the cadi’s daughter, and produced a better impression upon the audience than on the night of her début. Her mezzo-soprano, however, is rather worn, and its compass is limited, the notes of the lower register being particularly unreliable. Moreover, her efforts at holding on a note are frequently unsuccessful, and in more than one sostenuto was a lowering of tone distinctly perceptible. It were [sic] ungenerous, perhaps, to criticize Mlle. Bonconsiglio too severely, when we recall the fact that she has had but few opportunities to practice in this city, and that accustomed as we are to the bird-like vocalization of Mlle. Naddie, we detect more readily the lack of suppleness and extent of her successor’s voice. She was very heartily applauded in the duo in the second act, and it was observed that she sang with much greater power, ease and correctness after having received this encouragement. Of the other artistes, it is perhaps unnecessary to speak.  Mlle. Laurentis, in an insignificant part, warbled with taste and fluency, and acted with the brio peculiar to the charming dugazon singer, whose performance in the Crown Diamond has been repeatedly eulogized. M. Anthelme enacted his rôle with all the gracefulness of youth, and was heartily applauded. M. Vert was not in as good voice as usual, and his tones often grated harshly upon the ear; as an entirety, however, his rendering was good. M. Edgard supplied the truly comic element of the piece, and MM. Walter and Francis were satisfactory representatives of subsidiary mortals.” 

The reviewer first comments on that evening’s upcoming performance of Zampa, which is sure to be excellent, and segues into a plea to support the French Theater.

“The observations that precede are dictated to us by the remark we had to make, that the hall of the French Theater is rarely as well filled as it should be. It was thus the day before yesterday, at the evening [performance of] Le Caid. The piece is, nevertheless, attractive in itself, and well-executed. Mlle Bonconsiglio, although she used a bit too much of a dark voice, was still better than the first time. The tenor, M. Anthelme, was excellent. And if there are imperfections, isn’t the way to remedy them to support the theater in such a way as to permit it to do better eventually? The artists display a zeal beyond all praise, and we don’t see how they can do better than Mlles Naddie and Laurentis.”